House Style

Version - September 2015

Trinity Laban House Style (Music Programmes)

Citation Guide and Presentation of Written Work

Guidelines for Citation of Sources

Introduction
Students are required to provide references, both to acknowledge sources of quotations, facts, or
ideas, and to enable readers to identify and trace the works being cited. If you do not cite sources,
you may be unwittingly claiming authorship of ideas or statements that are not your own. This is
plagiarism, which is not tolerated and will result in failure. If you are in any doubt as to what
constitutes plagiarism, consult the General Assessment Regulations in the current Regulation
Handbook.

Quotation and referencing

There are two ways in which you can use other people’s words or ideas in your own writing: by
direct quotation and by indirect quotation (in which you rephrase what they say into your own
words). If a direct quotation is fairly short, put it in single inverted commas within your text, e.g.:

When quotations appear as portions of your own sentences, run into text, two possible methods of
treatment are possible: start your own sentence and lead ‘directly (lowercase) into the quotation’;;
or, ‘Start (capitalized) with the quotation’, close quotes to identify the speaker or otherwise explain
the excerpt, and ‘continue the quotation later in the sentence if you like’.1

Longer quotations should be given a paragraph to themselves, indented (and in word-processed

work single-spaced and formatted in a slightly smaller font if available), thus:

Geoffrey Norris has summarised Rachmaninov’s attitude to his three different musical careers:
Rachmaninov was a truly professional, master musician, yet he confessed that he was never
able to concentrate on more than one of his three careers as conductor, composer and pianist
at any one time. This fact is borne out particularly by his years away from Russia, when the
rigours of his life as a performer precluded nearly all composition other than that which he
could do in the summer months when it was not so necessary to practise intensively.2

A further example with a short and a long quotation:

In his book History of Music in England, Ernest Walker described Elgar as a composer who has
‘preferred to live outside the whirl of the recognized musical circles’, going on to say:
Elgar, till he was considerably over thirty years of age, was known chiefly by, so
to speak, “smart society” music—the Salut d’amour kind of production that seeks
and finds its reward in the West End drawing-room, clever and shallow and
artistically quite unpromising.3

Whether quotation is direct or indirect, you must acknowledge your source in some way.

There are various citation systems in general use in modern academic writing. The system
described in the following pages is based on the humanities system (footnotes and a bibliography)

1
Demar Irvine, Irvine’s Writing About Music, 3rd rev. ed., ed. Mark A. Radice (Portland: Amadeus Press,
1999), 138.
2
Geoffrey Norris, Rachmaninov, 2nd ed. (London: Dent, 1993), 79.
3
Ernest Walker, A History of Music in England (Oxford: Clarendon Press, 1907), 286 and 304.
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found in the Chicago Manual of Style (1 5th edition). This is the Trinity House Style and the one that
you should use for written work while at Trinity.

Footnotes
Footnotes are numbered consecutively throughout a piece of work. For a long piece of work that has
been divided into chapters (a 10,000-word dissertation, for example), the numbering will start again
for each new chapter.

Footnotes are listed at the bottom of the page on which the reference or citation occurs (and may be
in a smaller font size than the main body of your text). A superscript number (known as the footnote
marker) is placed in the text and again at the bottom of the page in front of the footnote. A full
reference should be used the first time an item is cited, followed by short forms thereafter (examples
of full and short formats appear in the following section of this guide). The footnote marker should
always be placed after punctuation and, where possible, at the end of a sentence.

When referring to a printed text, your footnote should indicate the page number or range of pages of
the direct quotation or idea or information you are referring to.

If a footnote refers to the same source as the footnote above, you can use ibid. (short for the Latin
‘ibidem’ meaning ‘the same’): E.g.:
Ivan Hewett, Music: Healing the Rift (London: Continuum, 2003), 21
1

Ibid., 305
2

Bibliography
All sources consulted – whether directly quoted, paraphrased, or simply read to gather ideas –
should be included in your bibliography.

Within your bibliography, you might consider categorizing the entries in a way that makes sense in
terms of your topic and methodology; e.g. you may wish to list text sources separately from scores
and sound recordings, or primary sources separately from secondary sources.

Items within each category should be organized alphabetically by author’s surname. If there is more
than one item by the same author, the name is given for the first entry and an eight-space line
followed by a full stop takes its place in subsequent entries, which are ordered alphabetically by title.
If an entry is long enough that it takes more than a single line, then any ‘turnover’ lines (e.g. those after
the first line) should be indented, e.g.:

Carley, Lionel. Delius: The Paris Years. Wales: Triad Press, 1975.
______ . Delius: A Life in Letters I 1862-1908. London: Scolar Press, 1983.
Carter, Mark Bonham, ed. The Autobiography of Margot Asquith. London: Eyre and Spottiswoode,
1962.
Chamier, J. Daniel. Percy Pitt of Covent Garden and the BBC. London: Edward Arnold, 1938.

Where possible you should give authors’ first names in full (e.g. Charles Rosen not C. Rosen).
Where an item has more than one author, only the first author is given in surname first order, e.g.:

Johnstone, H. Diack and Roger Fiske, The Blackwell History of Music in Britain, vol. 4:
The Eighteenth Century. Oxford: Blackwell, 1990.

Only include the publisher and specific date of the edition you have used.

Page numbers should be given for journal or magazine articles etc. Inclusive page numbers should
be linked as follows: 3–24, 512–69, 1,029–213, etc. When the last two digits of both numbers are

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between 11 and 19, then 112–18 (not 112–8). When the initial number ends with a 0 (or series of
0s), then 230–36 (not 230–6) and 100–119 (not 100–19).

Citation Examples
In the examples below, three different formats are shown:
fn full footnote format – this should be used the first time an item is cited in a footnote
sn short footnote format – this should be used for references to a source that has already
been cited in a footnote.
bibl bibliographic format – this should be used for the bibliography

Books

Single author
fn Ivan Hewett, Music: Healing the Rift (London: Continuum, 2003), 81.
sn Hewett, Music, 81.
bibl Hewett, Ivan. Music: Healing the Rift. London: Continuum, 2003.

Two or three authors

fn Kathleen Coessens, Darla Crispin and Anne Douglas, The Artistic Turn: A Manifesto
Orpheus Research Centre in Music 01 (Leuven: Leuven University Press, 2009),
39
sn Coessens, Crispin and Douglas, The Artistic Turn, 39.
bibl Coessens, Kathleen, Darla Crispin and Anne Douglas, The Artistic Turn: A Manifesto
Orpheus Research Centre in Music 01. Leuven: Leuven University Press, 2009.

NB: Two or three authors should be listed in the order given on the title page of the book or article;
when there are more than three authors, only show the first followed by ‘et al.’ (short for the Latin ‘et
alii’ meaning ‘and others’).

With editor and/or translator

fn David Beach, ed., Aspects of Schenkerian Theory (New Haven: Yale University Press,
1983), vii.
sn Beach, Aspects of Schenkerian Theory, vii.
bibl Beach, David, ed. Aspects of Schenkerian Theory. New Haven: Yale University Press,
1983.

fn Pierre Bourdieu, The Field of Cultural Production, ed. Randal Johnson, trans. Richard
Nice et al. (Cambridge: Polity, 1993), 105.
sn Bourdieu, The Field of Cultural Production, 105.
bibl Bourdieu, Pierre. The Field of Cultural Production, ed. Randal Johnson, trans. Richard
Nice et al. Cambridge: Polity, 1993.

Later editions
fn Charles Rosen, The Classical Style: Haydn, Mozart, Beethoven, rev. ed. (London:
Faber, 1976), 79.
sn Rosen, The Classical Style, 79.
bibl Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven, rev. ed. London:
Faber, 1976.

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fn Roger Nichols, Messiaen, 2nd ed. (Oxford: Oxford University Press, 1986), 20–21.
sn Nichols, Messiaen, 20–21.
bibl Nichols, Roger. Messiaen, 2nd ed. Oxford: Oxford University Press, 1986.

NB: The nature of the later edition (e.g. revised edition, 2nd edition, enlarged edition) should be
listed using the same wording that appears on the reverse side of a book’s title page.

Specified chapter(s)
fn Ruth A. Solie, ‘Fictions of the Opera Box’, in Music in Other Words: Victorian
Conversations (Berkeley: University of California Press, 2004), 195.
sn Solie, ‘Fictions of the Opera Box’, 195.
bibl Solie, Ruth A. ‘Fictions of the Opera Box’, in Music in Other Words: Victorian
Conversations. Berkeley: University of California Press, 2004, 187-218..

Institutional publication
fn Department for Education, Music in the National Curriculum (London: HMSO, 1995),
12.
sn Department for Education, Music in the National Curriculum, 12.
bibl Department for Education. Music in the National Curriculum. London: HMSO, 1995.

Music Editions
fn Johannes Brahms, Quintet in B minor for clarinet, 2 violins, viola and violoncello, Op.
115, Edition Eulenberg, No. 239 (miniature score) (London and New York: Ernst
Eulenburg, 1926).
sn Brahms, Quintet in B minor for clarinet, 2 violins, viola and violoncello, Op. 115
(Eulenberg, 1926).
bibl Brahms, Johannes. Quintet in B minor for clarinet, 2 violins, viola and violoncello, Op.
115. Edition Eulenberg, No. 239 (miniature score). London and New York: Ernst
Eulenburg, 1926.

fn Johannes Brahms, Clarinet Quintet in B minor, Op. 115, arr. Pamela Weston for
clarinet and piano (London: Fenette Music, 1974).
sn Brahms, Clarinet Quintet, Op. 115, arr. Weston.
bibl Brahms, Johannes. Clarinet Quintet in B minor, Op. 115, arr. Pamela Weston for
clarinet and piano. London: Fenette Music, 1974.

fn Claudio Monteverdi. L’incoronatione di Poppea, ed. Clifford Bartlett (Wyton: King’s

Music, 1993), 193.
sn Monteverdi, L’incoronatione di Poppea, ed. Bartlett, 193.
bibl Monteverdi, Claudio. L’incoronatione di Poppea, ed. Clifford Bartlett. Wyton: King’s
Music, 1993.

fn The Eton Choirbook, vol. 3, transcribed and ed. Frank Harrison, Musica Britannica, vol.
12, 2nd rev. ed. (London: Stainer and Bell for the Royal Musical Association, 1973),
21 1–22.
sn The Eton Choirbook, vol. 3, ed. Harrison, 21 1–22.
bibl The Eton Choirbook, vol. 3, transcribed and ed. Frank Harrison. Musica Britannica, vol.
12, 2nd rev. ed. London: Stainer and Bell for the Royal Musical Association, 1973.

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Articles in Books and Dictionaries

In a collection of essays
fn Simon Frith, ‘Pop Music’, in The Cambridge Companion to Pop and Rock, ed. Frith,
Will Straw, and John Street (Cambridge: Cambridge University Press, 2001), 101.
sn Frith, ‘Pop Music’, 101.
bibl Frith, Simon. ‘Pop Music’, in The Cambridge Companion to Pop and Rock, ed. Frith,
Will Straw, and John Street. Cambridge: Cambridge University Press, 2001. 93–
108.

In a collection edited and/or translated by others

fn Arnold Schoenberg, ‘Twelve-Tone Composition’ (1923), in Style and Idea, ed. Leonard
Stein, trans. Leo Black (Berkeley and Los Angeles: University of California Press,
1975), 208.
sn Schoenberg, ‘Twelve-Tone Composition’, 208.
bibl Schoenberg, Arnold. ‘Twelve-Tone Composition’ (1923), in Style and Idea, ed. Leonard
Stein, trans. Leo Black. Berkeley and Los Angeles: University of California Press,
1975. 207–8.

In The New Grove, 2nd ed., accessed in its print version

fn Alison Arnold, ‘India §VIII, 1: Film Music, (ii) Style’, in The New Grove Dictionary of
Music and Musicians, 2nd ed., ed. Stanley Sadie and John Tyrrell (London:
Macmillan, 2001), vol. 12, p. 255.
sn Arnold, ‘India §VIII, 1: Film Music, (ii) Style’, The New Grove, vol. 12, p. 255.
bibl Arnold, Alison. ‘India §VIII, 1: Film Music, (ii) Style’, in The New Grove Dictionary of
Music and Musicians, 2nd ed., ed. Stanley Sadie and John Tyrrell. London:
Macmillan, 2001. Vol. 12, pp. 254–6.

NB: The designation p. or pp. is only used when there might be confusion if it were not present i.e.
when there are other numbers indicating something like a volume number.
Note also that articles in The New Grove have an author who should always be identified.

In The New Grove, 2nd ed., accessed online

fn Hugo Cole and Jennifer Doctor, ‘Maconchy, Dame Elizabeth’ in Grove Music Online.
Oxford Music Online,
<http://www.oxfordmusiconline .com/subscriber/article/grove/music/1 7374>
(accessed August 8, 2010).
sn Cole and Doctor, ‘Maconchy, Dame Elizabeth’, Grove Music Online.
bibl Cole, Hugo and Jennifer Doctor. ‘Maconchy, Dame Elizabeth’ in Grove Music Online.
Oxford Music Online,
<http://www.oxfordmusiconline .com/subscriber/article/grove/music/1 7374>
(accessed August 8, 2010).

In a separately-titled volume in a multi-volume work

fn Milton Babbitt, ‘Who Cares if You Listen?’, in Source Readings in Music History, vol. 7:
The Twentieth Century, rev. ed., ed. Robert P. Morgan (New York and London:
Norton, 1998), 36.
sn Babbitt, ‘Who Cares if you Listen?’, 36.
bibl Babbitt, Milton. ‘Who Cares if You Listen?’, in Source Readings in Music History, vol. 7:
The Twentieth Century, rev. ed., ed. Robert P. Morgan. New York and London:
Norton, 1998. 35–41.

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Articles in Journals
In a journal accessed in its print version
fn Susan Garcia, ‘Scriabin’s Symbolist Plot Archetype in the Late Piano Sonatas’, 19th-
Century Music 23/3 (2000), 302.
sn Garcia, ‘Scriabin’s Symbolist Plot Archetype’, 302.
bibl Garcia, Susan. ‘Scriabin’s Symbolist Plot Archetype in the Late Piano Sonatas’. 19th-
Century Music 23/3 (2000), 273–335.

Without an identified author

fn [Unsigned], ‘The Geneva Festival’, Monthly Musical Record 59 (January 1929), 2.
sn [Unsigned], ‘The Geneva Festival’, 2.
bibl ‘The Geneva Festival’. Monthly Musical Record 59 (January 1929), 2.

NB: Avoid using ‘Anonymous’, as the author may have been known at the time (and to scholars
now). In the bibliography, decide how you would like such items to appear and adjust the layout of the
entry accordingly; e.g. decide whether it should appear alphabetically under the title (as above), under
the type of article (e.g. obituary or review appears at the beginning of line) or in a list of ‘unsigned’
articles (e.g. begin line with [Unsigned]).

Without a title
fn Susan McClary, review of Between Montmartre and the Mudd Club: Popular Music and
the Avant-Garde (2002), by Bernard Gendron. twentieth-century music 1/1 (2004),
140.
sn McClary, review of Between Montmartre and the Mudd Club, 140.
bibl McClary, Susan. Review of Between Montmartre and the Mudd Club: Popular Music
and the Avant-Garde (2002), by Bernard Gendron. twentieth-century music 1/1
(2004), 139–45.

In a journal accessed on-line

fn Munir Nurettin Beken, ‘Aesthetics and Artistic Criticism at the Turkish Gazino’, Music
and Anthropology 8 (2003), <http://www. provincia .venezia . it/levi/ma/
index/nu mber8/gazino/bek_00. htm> (accessed 10 May 2005).
sn Beken, ‘Aesthetics and Artistic Criticism at the Turkish Gazino’, [online].
bibl Beken, Munir Nurettin. ‘Aesthetics and Artistic Criticism at the Turkish Gazino’. Music
and Anthropology 8 (2003). <http://www. provincia .venezia . it/levi/ma/
index/nu mber8/gazino/bek_00. htm> (accessed 10 May 2005).

NB: When citing long URL addresses, find a judicious place to break for ends of lines, e.g. when
possible, directly following a ‘forward slash’ (/).

fn Sean Stroud, ‘"Musica e para o povo cantar": Culture, Politics, and Brazilian Song
Festivals, 1965–1972’, Latin American Music Review / Revista de Mœsica
Latinoamericana 21/2 (Autumn–Winter 2000), <http://links.jstor.org/
sici?sici=0 1 630350%28200023%2F24%292 1 %3A2%3C%3E 1.0. CO% 3B2-W>
(accessed 2 June 2004).
sn Stroud, ‘Culture, Politics, and Brazilian Song Festivals’, [online].
bibl Stroud, Sean. ‘"Musica e para o povo cantar": Culture, Politics, and Brazilian Song
Festivals, 1965–1972’. Latin American Music Review / Revista de Mœsica
Latinoamericana 21/2 (Autumn–Winter 2000). <http://links.jstor.org/
sici?sici=0 1 630350%28200023%2F24%292 1 %3A2%3C%3E 1.0. CO% 3B2-W>
(accessed 2 June 2004).

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Articles in Newspapers
fn Tanya Mohn, ‘Private Sector: Stumbling Into a World of Music’, New York Times, 21
December 2003, Late Edition Final, Business Section (sec. 3), 2.
sn Mohn, ‘Private Sector: Stumbling Into a World of Music’, 2.
bibl Mohn, Tanya. ‘Private Sector: Stumbling Into a World of Music’. New York Times, 21
December 2003, Late Edition Final. Business Section (sec. 3), 2.

Signed obituaries
fn Tony Russell, ‘Ray Charles: Musical Giant who Drew Together Blues, Gospel, Soul
and Jazz’ [obituary], The Guardian, 12 June 2004, <http://
www.guardian.co.uk/obituaries/story/0,3604,1237006,00.html> (accessed 15 June
2004).
sn Russell, ‘Ray Charles’, [online].
bibl Russell, Tony. ‘Ray Charles: Musical Giant who Drew Together Blues, Gospel, Soul
and Jazz’ [obituary]. The Guardian, 12 June 2004. <http://
www.guardian.co.uk/obituaries/story/0,3604,1237006,00.html> (accessed 15 June
2004).

Unsigned obituaries
fn [Unsigned], obituary for Conlon Nancarrow, The Times [Los Angeles], 19 August 1997,
4.
sn Obituary for Conlon Nancarrow. The Times, 19 August 1997
bibl Obituary for Conlon Nancarrow. The Times [Los Angeles], 19 August 1997. 4.

Websites
Give author and title of website or specific webpage – if available. Always give the url (address) of
the web page (or site if you are referring to the whole site) and the date on which you accessed it.

fn Alex Ross, ‘The Rest is Noise’, <http://www.therestisnoise.com/> (accessed 8 August

2010).
sn Ross, ‘The Rest is Noise’ [online]
bibl Ross, Alex. ‘The Rest is Noise’. <http://www.therestisnoise.com/> (accessed 8 August
2010)

fn [Unsigned], ‘Elgar: The Man Behind the Music: A Character Study’,

<http://www.elgar.org/2theman.htm> (accessed 8 August 2010).
sn Unsigned], ‘Elgar: The Man Behind the Music’ [online]
bibl [Unsigned], ‘Elgar: The Man Behind the Music: A Character Study’,
<http://www.elgar.org/2theman.htm> (accessed 8 August 2010).

fn [Unsigned], Courtney Pine: Biography, < http://www.courtneypine.co.uk/

biography_biography. htm> (accessed 8 August 2010).
sn Unsigned], Courtney Pine: Biography [online]
bibl [Unsigned], Courtney Pine: Biography, < http://www.courtneypine.co.uk/
biography_biography. htm> (accessed 8 August 2010).

Programme Notes
There is no standard format for programme notes. Essential elements include identification of the
event (title, place and date) and the note’s author. The following examples may need to be adapted
to fit individual circumstances.

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Titled note in festival programme book

fn Christopher Mark, ‘Early Britten and the Shadow of Schoenberg’, in Fifty-fifth
Aldeburgh Festival of Music and the Arts (Snape, Suffolk: Aldeburgh Productions,
2002), 70.
sn Mark, ‘Early Britten and the Shadow of Schoenberg’, 70.
bibl Mark, Christopher. ‘Early Britten and the Shadow of Schoenberg’, in Fifty-fifth
Aldeburgh Festival of Music and the Arts. Snape, Suffolk: Aldeburgh Productions,
2002. 70. (Programme note to Britten & Vienna 2, Snape Maltings Concert Hall, 10
June 2000.)

Untitled note in concert programme

fn Richard Toop, programme note on Ligeti, Piano Concerto (BBC Promenade Concert,
Royal Albert Hall, London, 2 September 1993), 18.
sn Toop, programme note on Ligeti, Piano Concerto, 18.
bibl Toop, Richard. Programme note on Ligeti, Piano Concerto. BBC Promenade Concert,
Royal Albert Hall, London, 2 September 1993. 17–18.

Titled article in festival prospectus

fn Paul Lewis, ‘The Spirit of Beethoven’, in BBC Proms: 16 July – 11 September 2010
(London: BBC, 2010), 41.
sn Lewis, ‘The Spirit of Beethoven’, 41.
bibl Lewis, Paul. ‘The Spirit of Beethoven’, in BBC Proms: 16 July – 11 September 2010.
London: BBC, 2010. 40-43.
.
Unpublished Written Works
Dissertations and theses
fn Frank Dobbins, ‘The Chanson at Lyons in the Sixteenth Century’ (DPhil diss.,
University of Oxford, 1971), 52.
sn Dobbins, ‘The Chanson at Lyons in the Sixteenth Century’, 52.
bibl Dobbins, Frank. ‘The Chanson at Lyons in the Sixteenth Century’. DPhil diss.,
University of Oxford, 1971.

Unpublished conference paper

fn Andreas Wehrmeyer, ‘Prokofiev’s Cantatas for the 20th and 30th Anniversaries of the
October Revolution’, paper presented at the conference Prokofiev and Twentieth-
Century Culture, Manchester (UK), February 2003, 7.
sn Wehrmeyer, ‘Prokofiev’s Cantatas for the 20th and 30th Anniversaries of the October
Revolution’, 7.
bibl Wehrmeyer, Andreas. ‘Prokofiev’s Cantatas for the 20th and 30th Anniversaries of the
October Revolution’. Paper presented at the conference Prokofiev and Twentieth-
Century Culture, Manchester (UK), February 2003.

Unpublished Interviews
Essential information includes the names of the interviewer and interviewee and the place and date
of the interview. Distinctions should be made between an interview and an interview transcript. You
must secure permission from the interviewee and interviewer before quoting directly from
unpublished interviews.

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Untranscribed interview
fn James Clark, interview by author (9 June 1992, Royal Festival Hall, London); private
recording.
sn Clark, interview by author, 9 June 1992.
bibl Clark, James. Interview by author. 9 June 1992, Royal Festival Hall, London. Private
recording.

Transcribed interview
fn Basil Chidyamatamba, interview on Zimbabwean music (25 July 1984, Commonwealth
Institute, London); tape recording: British Library Sound Archives, T7080/1BW;
transcript by author, 12.
sn Chidyamatamba, interview on Zimbabwean Music, 25 July 1984, transcript, 12.
bibl Chidyamatamba, Basil. Interview on Zimbabwean music. 25 July 1984, Commonwealth
Institute, London. Tape recording: British Library Sound Archives, T7080/1 BW.
Transcript by author.

Unpublished Archival Materials

Finding the best way to cite such materials depends entirely on the way the archival materials are
stored, organized and catalogued. Essential information includes a brief description giving a sense of
what the item is, the author, the date, where you accessed it and any cataloguing reference it may
have. Unpublished writings remain the copyright of the author (not the current owner). It is a courtesy
to ask permission to reproduce this material even in educational work, and this becomes necessary
should you ever decide to publish previously unpublished writings, in whole or in part. It is also a
courtesy to inform the current owner of the letter about any publication plans.

Unpublished letters
fn Anton Webern, Vienna, autograph letter to Kenneth A. Wright, BBC Music Department,
11 January 1936, Edward Clark Letters, British Library, Add.ms.52257, fol. 179.
sn Webern, autograph letter to Wright, 11 January 1936.
bibl Webern, Anton, Vienna. Autograph letter to Kenneth A. Wright, BBC Music
Department, 11 January 1936. Edward Clark Letters, British Library,
Add.ms.52257, fols. 179–80.

Unpublished diaries
fn John Reith, diary entry, 17 May 1925 (BBC Written Archives Centre, S60/5/2: Reith
Diaries, vol. ii (May 1923–May 1927)), 135.
sn Reith, diary entry, 17 May 1925, vol. ii, 135.
bibl Reith, John. Diary entry, 17 May 1925. BBC Written Archives Centre, S60/5/2: Reith
Diaries, vol. ii (May 1923–May 1927).

Wills
fn James Bowness Clark, will (died 20 June 1934, probate, Newcastle-upon-Tyne, 20
September 1934), Public Record Office, Kew, London.
sn James Bowness Clark, will (died 20 June 1934).
bibl Clark, James Bowness. Will (died 20 June 1934, probate, Newcastle-upon-Tyne, 20
September 1934). Public Record Office, Kew, London.`

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Sound Recordings and Liner Notes

Entire titled recording
fn Miles Davis, The Complete Birth of the Cool, original studio sessions, prod. Pete
Rugulo, reissue prod. Mark Levinson, Phil Schaap and Michael Cusuma (CD,
Capital Jazz (Capital Records), 7243 4 94550 2 3, 1998).
sn Davis, The Complete Birth of the Cool, CD.
bibl Davis, Miles. The Complete Birth of the Cool. Original studio sessions, prod. Pete
Rugulo. Reissue prod. Mark Levinson, Phil Schaap and Michael Cusuma. CD,
Capital Jazz (Capital Records), 7243 4 94550 2 3, 1998.

Titled recording of specific work

fn Rāga Shindhi Bhairavi, on The Exotic Sitar and Sarod, Ravi Shankar, sitar, Ali Akbar
Khan, sarod, Alla Rakha, tabla, Nodu Mullick and Ashish Kumar, tanpura (LP,
Capitol International Series SP-10497, [no date]).
sn Rāga Shindhi Bhairavi, Ravi Shankar, sitar, Ali Akbar Khan, sarod, and others, LP.
bibl Rāga Shindhi Bhairavi. On The Exotic Sitar and Sarod. Ravi Shankar, sitar, Ali Akbar
Khan, sarod, Alla Rakha, tabla, Nodu Mullick and Ashish Kumar, tanpura. LP,
Capitol International Series SP-10497, [no date].

Untitled recording of specific work

fn Gabriel Fauré, Sonata No. 1 in A major for violin and piano, Op. 13, Jacques Thibaud,
violin, Alfred Cortot, piano, recorded London, Kingsway Hall, 23 June 1927 (CD,
EMI, MONO CDH 7630322, 1989).
sn Fauré, Sonata No. 1 in A major for violin and piano, Op. 13, recorded 23 June 1927,
CD.
bibl Fauré, Gabriel. Sonata No. 1 in A major for violin and piano, Op. 13. Jacques Thibaud,
violin, Alfred Cortot, piano. Recorded London, Kingsway Hall, 23 June 1927. CD,
EMI, MONO CDH 7630322, 1989.

Titled liner notes

fn David Eisenman, ‘The Toxic Sounds of Musicircus’, liner notes to HPSCHD by John
Cage and Lejaren Hiller (CD, Electronic Music Foundation, EMF CD 038, 2003), 8.
sn Eisenman, ‘The Toxic Sounds of Musicircus’, 8.
bibl Eisen man, David. ‘The Toxic Sounds of Musicircus’, liner notes to HPSCHD by John
Cage and Lejaren Hiller. CD, Electronic Music Foundation, EMF CD 038, 2003. 7–
8.

Untitled liner notes

fn [Unsigned], liner notes to Peripheral Visions: British Works for Voice and Piano Since
1970 (CD, Sony, SK 62308, 1996), 4.
sn [Unsigned], liner notes to Peripheral Visions, 4.
bibl [Unsigned.] Liner notes to Peripheral Visions: British Works for Voice and Piano Since
1970. CD, Sony, SK 62308, 1996. 3–4.

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Audio-Visual Recordings
There is no standard format. Essential elements include the title, the director, the original date of
issue and information relating to the recording you accessed.

fn Subhash Ghai, prod. and dir., Pardes, songs by Nadeem-Shravan, lyrics by Anand
Bakshi, background music by Vanraj Bhatia, with performers Shah Rukh Khan,
Mahima Chowdhary, Apoorva Agnihotri, Amrish Puri, 179 mins (Mukta Arts, 1997);
reissued (DVD, Eros International, DVDE004, 2002).
sn Ghai prod. and dir. Pardes, songs by Nadeem-Shravan, lyrics by Anand Bakshi,
background music by Vanraj Bhatia, DVD.
bibl Ghai, Subhash, prod. and dir. Pardes. Songs by Nadeem-Shravan, lyrics by Anand
Bakshi, background music by Vanraj Bhatia. With performers Shah Rukh Khan,
Mahima Chowdhary, Apoorva Agnihotri and Amrish Puri. 179 mins. Mukta Arts,
1997. Reissued DVD, Eros International, DVDE004, 2002.

fn John Baily, dir. and ed., Amir: an Afghan Refugee Musician's Life in Peshawar,
Pakistan, photography by Wayne Derrick, 52 mins. (VHS, Royal Anthropological
Institute, 1986).
sn Baily, dir. and ed. Amir: an Afghan Refugee Musician's Life in Peshawar, Pakistan,
VHS.
bibl Baily, John, dir. and ed. Amir: an Afghan Refugee Musician's Life in Peshawar,
Pakistan. Photography by Wayne Derrick. 52 mins. VHS, Royal Anthropological
Institute, 1986.

Film of work originally for other medium

fn Richard Strauss, Ariadne auf Naxos, video recording of Metropolitan Opera production
(March 1988), cond. by James Levine, video dir. Brian Large, with performers
Jessye Norman, Kathleen Battle, Tatiana Troyanos, James King (Deutsche
Grammophon, 1988); reissued (DVD, 0730289, 2002).
sn Strauss, Ariadne auf Naxos, cond. by James Levine, DVD.
bibl Strauss, Richard. Ariadne auf Naxos. Video recording of Metropolitan Opera
production (March 1988), cond. by James Levine, video dir. Brian Large. With
performers Jessye Norman, Kathleen Battle, Tatiana Troyanos and James King.
Deutsche Grammophon, 1988. Reissued DVD, 0730289, 2002.

Broadcasts
There is no standard format. Authorship may rest mainly with a speaker (in the case of a radio talk,
for instance), a producer (in the case of a documentary) or a presenter. The title should be given,
together with the channel and the date of transmission. If your source is a recording of a broadcast,
then the recording information must also be given.

Radio broadcasts
fn Olivier Messiaen, ‘La colombe’, from Préludes for piano, Rolf Hind, piano (performing
live), on In Tune (BBC Radio 3, 9 June 2004).
sn Messiaen, ‘La colombe’, Rolf Hind, piano (BBC Radio 3, 9 June 2004).
bibl Messiaen, Olivier. ‘La colombe’, from Préludes for piano. Rolf Hind, piano (performing
live), on In Tune. BBC Radio 3, 9 June 2004.

fn Donald Macleod, presenter, ‘Amy Beach’, in Composer of the Week (BBC Radio 3, 2
August 2010).
sn Macleod, presenter, ‘Amy Beach’ (BBC Radio 3, 2 August 2010).

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 House Style

bibl Macleod, Donald presenter. ‘Amy Beach’, in Composer of the Week. BBC Radio 3, 2
August 2010.

Recordings of radio broadcasts

fn Elvis Presley, Live with Elvis (GWR Radio, 18 April 1987); recording: British Library
Sound Archives, C1 000/046/87/1. (Interview and music.)
sn Presley, Live with Elvis (GWR Radio, 18 April 1987).
bibl Presley, Elvis. Live with Elvis. GWR Radio, 18 April 1987. Recording: British Library
Sound Archives, C1 000/046/87/1. (Interview and music.)

Television documentary
fn John Bridcut, prod., Britten’s Children (Mentorn for BBC2, 5 June 2005, 9.15 pm).
(Television documentary.)
sn Bridcut, Britten’s Children (BBC2, 5 June 2005).
bibl Bridcut, John, prod. Britten’s Children. Mentorn for BBC2, 5 June 2005, 9.15 pm.
(Television documentary.)

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 House Style

Presentation of Written Work

Work should normally be word processed and presented on A4 paper. Certain types of music
examples or diagrams will work more conveniently on A3 paper, which should then be folded to A4
size.

Layout
 Use a font size of 11 or 12 and choose a font which is clear and easy to read (e.g. arial, times
new roman or book antiqua etc. not montype corsiva or French Script MT etc.).
 Work should be spaced at 1.5 lines or double-spaced.
 Provide generous right and left margins (at least 3cm).
 Pages must be numbered.
 Use single quotation marks – unless you have a quotation within a quotation which you would
identify by using double quotation marks.
Length
Where the length of a piece of work is specified, a variation of ±10% in the word count may be taken
as acceptable (NB: students on the outgoing MMus programme (part-time year 4) who have already
commenced their Personal Projects will continue with a ±20% variation in word count).

Music examples, diagrams, illustrations, etc.

Where these are fairly short they should be included within the text rather than on separate pages.
They should be numbered in sequence and referred to in the text in the form: Ex. 1, Exs. 2 and 3.
Music examples should normally be computer-generated (using Sibelius or some other music
notation software).

Binding
All parts of an assignment must be securely held together. The following are acceptable:
 Binding (binding materials are obtainable in the Library);
 Clear plastic document sleeves or folders;
 Staples (not paper clips).

Trinity will not be held responsible for the loss of portions of work, and the consequent effect on
marks awarded, if these guidelines are not followed.

Additional information
If you decide to leave an unnecessary phrase out of a quotation, indicate the omitted text with three
dots or ‘ellipsis points’, e.g.: ‘Her diction was exceptionally clear ... but it was the truly musical &
aesthetic side of her art, with its exquisite poetry & warmth of passion, which completely
overwhelmed me.’4

To give context to a quotation or otherwise add wording to it e.g. where your quotation uses a name
that needs explaining or expanding, place added word/s in square brackets, [ ]:
‘...after dinner Gompertz came and played Joe’s [Joseph Joachim] Hungarian concerto. Mr. S.
[Charles Villiers Stanford] played some of Hubert’s [Hubert Parry] new symphony, the Scherzo and
Trio delicious.’5

Quotations should not be in italics.

Non-English words should be in italics unless they are in common use.

4
Edward Speyer, My Life and Friends (London: Cobden-Sanderson, 1937), 71.
5
Lucy Masterman, ed. Mary Gladstone (Mrs. Drew) Her Diaries and Letters (London: Methuen, 1930), 291.

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 House Style
Version - September 2015

Notes on Music Titles

Generic titles
Generic titles such as symphony, sonata, concerto, mass, etc. appear in roman type (i.e. not
italicized). If full details are given, the title words are capitalized (e.g. Symphony No. 1), but if the
work is mentioned in a less specific way, the title words are lower case (e.g. the symphony was
written in ... ).
Mozart, Piano Concerto No. 20 in D minor, K 466
Beethoven, Symphony No. 3 in E major, Op. 55 ‘Eroica’

J. S. Bach, Toccata, Adagio and Fugue in C major, BWV 564

Taverner, Sanctus from Mass ‘Gloria tibi Trinitas’

Britten, Suite for violin and piano, Op. 6

Ives, Violin Sonata No. 2
Schubert, Piano Quintet in A major, D 667 ‘Die Forelle’

Distinctive titles
Distinctive titles (of operas, oratorios, songs, collections, etc.) should be in italics. Capitalization
follows the rules for the language (e.g. English: capitalize all main words; German: capitalize first
word and all nouns; French, Spanish, Italian, Latin: capitalize only first word and proper nouns)
Paisiello, Le barbier de Seville
Mozart, Don Giovanni
Lortzing, Der Pole und sein Kind, oder Der Feldwebel vom IV. Regiment
Palestrina, Missa Papae Marcelli

Vaughan Williams, A London Symphony (Symphony No. 2)

Song and aria titles

Songs that are not part of larger works appear in roman type in single quotation marks. In English,
only the first word and proper names are capitalized.
Henri Duparc, ‘L’invitation au voyage’
Cole Porter, ‘It ain't etiquette’
Maude Valérie White, ‘So we’ll go no more a’roving’

Songs that are part of larger works appear in roman type in single quotation marks, while the title of
the full work appears in italics:
Wolfgang Amadeus Mozart, ‘Ah chi mi dice mai’ from Don Giovanni, Act 1, scene v
Robert Schumann, ‘Morgens steh’ ich auf’, Liederkreis, op. 24 no. 1

George Gershwin, ‘Bess, you is my woman now’ from Porgy and Bess

Titles which are first lines, or incipits, should be in roman, in single quotes:
Wolfgang Amadeus Mozart, ‘Ave verum corpus’

References to recitatives and arias appear similarly:

Francesco Cilèa, ‘Acerba voluttà... O vagabonda stella’ from Adriana Lecouvreur

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